In Ryan Murphy's recently released Netflix limited series, Hollywood takes a post-war twist, inviting viewers to ponder a thought-provoking "what if?" scenario.
The show weaves a fictional tale around a cadre of actors and filmmakers navigating the industry post-World War II. While characters like Darren Criss' director Raymond Ainsley and David Corenswet's actor Jack Costello are purely imaginative, the narrative draws inspiration from real Hollywood personalities like heartthrob Rock Hudson and Oscar winner Hattie McDaniel, capturing the essence of the golden age.
Murphy shares his creative vision: "I aimed to provide a happy ending, or at least a reflection of it, for some, if not all, of these individuals. How can Hollywood influence hearts and minds? I chose to craft an alternate universe within Hollywood and populated it with a mix of real and loosely inspired fictional characters."
Dive into the historical roots of Hollywood within the series.
As viewers meet Anna May Wong (portrayed by Michelle Krusiec) in Hollywood, she candidly tells Criss' director Raymond Ainsley that audiences resist a leading lady who resembles her.
"Throughout my career, they craved oversexed, opium-addled courtesans and dangerously exotic Far Eastern temptresses—expectations for someone like me," she remarks.
In reality, Anna May Wong faced explicit discrimination as the first Chinese-American Hollywood star. While she achieved fame in silent movies during the 1920s, systemic racism limited her opportunities in the industry and beyond.
Murphy emphasizes Wong's shocking story: "She was a stunningly beautiful and talented movie star, yet she was confined to sidekick roles despite showcasing great talent and range."
Miscegenation laws further typecast Wong into dragon ladies, villains, or submissive roles, while white actresses in yellowface took lead positions. The most glaring example was Wong losing the role of O-Lan in The Good Earth, a part that went to Luise Rainer, a white actress.
Nancy Wang Yuen, sociologist and author of Reel Inequality: Hollywood Actors and Racism, notes Wong's significance in an era without roles for her. Yuen explains, "People may perceive her roles as playing into stereotypes, but those were the only roles available."
In Hollywood, Wong secures a role that breaks free from stereotypes. In reality, she ventured to Europe in 1928, becoming the first international Asian-American star. In the 1950s, she made history as the first Asian-American lead in a U.S. TV series, The Gallery of Madame Liu-Tsong.
The series' revisionist take highlights the contrast between fiction and the ongoing struggles for representation in Hollywood. Despite advancements, no Asian-American actress has won an Academy Award in a lead category, and roles designed for Asian actors still go to white actors.
Krusiec reflects on the invisibility of Asian Americans: "We are an invisible minority." The alternate Hollywood universe offers Wong a chance to be seen as the leading lady she could have become. "[Playing her] was a journey of her truly being seen and given a chance to right the wrongs."
